Expertly off-kilter.
In this prequel to his graphic novel, Kill My Mother (2014), Feiffer delivers another noir fever dream, sending America right to the top of the flagpole with a hard-boiled, lyrical punch of immigrant stories, labor relations, and the almighty dollar.
Detective Sam Hannigan is the biggest fist in the Red Squad, a crew of heavy-handed cops charged with breaking up a labor union at a cannery in Prohibition-era Southern California. On the side, Sam makes special deliveries to some of Hollywood’s biggest producers on behalf of the mysterious Cousin Joseph, who fears the corruption of audiences by a “tribe of tricksters.” Through payoffs and intimidation, Cousin Joseph steers “problem movies” away from subjects like the plight of the downtrodden and toward more wholesome fare with small-town values. On the other side of the anti-Semitic divide from Cousin Joseph, the oversexed daughter of the cannery owner finds her first Jewish penis to be absolutely charming, standing out as it does among the genitals of her many partners—from underage boys to union brutes. Things come to a head when the Red Squad is called upon to break a massive strike led by Sam’s old high school chum while Sam and Cousin Joseph clash over creative differences. This second installment of what will be a trilogy answers the question that haunted the first book—who killed Sam Hannigan?—while also delivering early looks at major Kill My Mother characters (though the book stands perfectly well on its own). This new tale captures the frenetic energy and kitchen-sink attitude of the original, and Feiffer’s gracefully chunky illustrations mesmerize. Even when his crumpled, balletic figures twist and lurch into a splash of bold lines, emotion cuts straight through the jumble with telltale flourishes: a striker’s panicked eyes, the interlaced fists of a strikebreaker’s haymaker raised high.
Expertly off-kilter.Pub Date: July 26, 2016
ISBN: 978-1-63149-065-1
Page Count: 136
Publisher: Liveright/Norton
Review Posted Online: May 3, 2016
Kirkus Reviews Issue: May 15, 2016
Gorgeous and troubling.
Cartoonist Kuper (Kafkaesque, 2018, etc.) delivers a graphic-novel adaptation of Joseph Conrad’s literary classic exploring the horror at the center of colonial exploitation.
As a group of sailors floats on the River Thames in 1899, a particularly adventurous member notes that England was once “one of the dark places of the earth,” referring to the land before the arrival of the Romans. This well-connected vagabond then regales his friends with his boyhood obsession with the blank places on maps, which eventually led him to captain a steamboat up a great African river under the employ of a corporate empire dedicated to ripping the riches from foreign land. Marlow’s trip to what was known as the Dark Continent exposes him to the frustrations of bureaucracy, the inhumanity employed by Europeans on the local population, and the insanity plaguing those committed to turning a profit. In his introduction, Kuper outlines his approach to the original book, which featured extensive use of the n-word and worked from a general worldview that European males are the forgers of civilization (even if they suffered a “soul [that] had gone mad” for their efforts), explaining that “by choosing a different point of view to illustrate, otherwise faceless and undefined characters were brought to the fore without altering Conrad’s text.” There is a moment when a scene of indiscriminate shelling reveals the Africans fleeing, and there are some places where the positioning of the Africans within the panel gives them more prominence, but without new text added to fully frame the local people, it’s hard to feel that they have reached equal footing. Still, Kuper’s work admirably deletes the most offensive of Conrad’s language while presenting graphically the struggle of the native population in the face of foreign exploitation. Kuper is a master cartoonist, and his pages and panels are a feast for the eyes.
Gorgeous and troubling.Pub Date: Nov. 5, 2019
ISBN: 978-0-393-63564-5
Page Count: 160
Publisher: Norton
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
Chwast and Twain are a match made in heaven.
Design veteran Chwast delivers another streamlined, graphic adaptation of classic literature, this time Mark Twain’s caustic, inventive satire of feudal England.
Chwast (Tall City, Wide Country, 2013, etc.) has made hay anachronistically adapting classic texts, whether adding motorcycles to The Canterbury Tales (2011) or rocket ships to The Odyssey (2012), so Twain’s tale of a modern-day (well, 19th-century) engineer dominating medieval times via technology—besting Merlin with blasting powder—is a fastball down the center. (The source material already had knights riding bicycles!) In Chwast’s rendering, bespectacled hero Hank Morgan looks irresistible, plated in armor everywhere except from his bow tie to the top of his bowler hat, sword cocked behind head and pipe clenched in square jaw. Inexplicably sent to sixth-century England by a crowbar to the head, Morgan quickly ascends nothing less than the court of Camelot, initially by drawing on an uncanny knowledge of historical eclipses to present himself as a powerful magician. Knowing the exact date of a celestial event from more than a millennium ago is a stretch, but the charm of Chwast’s minimalistic adaption is that there are soon much better things to dwell on, such as the going views on the church, politics and society, expressed as a chart of literal back-stabbing and including a note that while the upper class may murder without consequence, it’s kill and be killed for commoners and slaves. Morgan uses his new station as “The Boss” to better the primitive populous via telegraph lines, newspapers and steamboats, but it’s the deplorably savage civility of the status quo that he can’t overcome, even with land mines, Gatling guns and an electric fence. The subject of class manipulation—and the power of passion over reason—is achingly relevant, and Chwast’s simple, expressive illustrations resonate with a childlike earnestness, while his brief, pointed annotations add a sly acerbity. His playful mixing of perspectives within single panels gives the work an aesthetic somewhere between medieval tapestry and Colorforms.
Chwast and Twain are a match made in heaven.Pub Date: Feb. 18, 2014
ISBN: 978-1-60819-961-7
Page Count: 144
Publisher: Bloomsbury
Review Posted Online: Nov. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
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